The Skorba temples are megalithic remains which have provided detailed and informative insight into the earliest periods of Malta's neolithic culture. The site was only excavated in the early 1960s, rather late in comparison to other megalithic sites, some of which had been studied since the early 19th century. The site's importance has led to its listing as a UNESCO World Heritage Site, a listing it shares with six other megalithic temples in Malta.
The area around Skorba appears to have been inhabited very early in the Neolithic period. When the eminent Maltese historian Sir Temi Żammit excavated the nearby temples of Ta' Ħaġrat, only a single upright slab protruded from a small mound of debris on the Skorba site. Archeologists ignored this mound until David H. Trump excavated it between 1960 and 1963.
The remains on the site are a series of megalithic uprights (one of them 3.4m high), the lowest course of the temples' foundations, paving slabs with libation holes in the entrance passage, and the torba floor of a three-apse temple. This three-apse shape is typical of the Ġgantija phase. Unfortunately, the greater part of the first two apses and the whole of the façade have been razed to ground level.
The north wall is in a better state of preservation. Originally, the entrance of the temple opened on a court, but in later additions during the Tarxien phase, the temple's doorway was closed off, with altars set in the corners formed by the closure. East of this temple, a second monument was added in the Tarxien phase, with four apses and a central niche.
For a period of roughly twelve centuries before the temples were built, a village already stood on the site. Its oldest extant structure is the eleven metre long straight wall to the west of the temples’ first entrance. Deposits at its base contained material from the first known human occupation of the island, the Għar Dalam phase, including charcoal, which carbon analysis dated to 4850 BC.
The pottery found on the site is divided into two styles, the Grey Skorba phase distinguished by grey-colored pottery with no motifs, and the Red Skorba phase, which is exactly like the grey Skorba but colored using red ocher.References:
The Palazzo Colonna is a palatial block of buildings built in part over ruins of an old Roman Serapeum, and has belonged to the prestigious Colonna family for over twenty generations.
The first part of the palace dates from the 13th century, and tradition holds that the building hosted Dante in his visit to Rome. The first documentary mention notes that the property hosted Cardinal Giovanni and Giacomo Colonna in the 13th century. It was also home to Cardinal Oddone Colonna before he ascended to the papacy as Martin V (1417–1431).
With his passing, the palace was sacked during feuds, and the main property passed into the hands of the Della Rovere family. It returned to the Colonna family when Marcantonio I Colonna married Lucrezia Gara Franciotti Della Rovere, the niece of pope Julius II. The Colonna"s alliance to the Habsburg power, likely protected the palace from looting during the Sack of Rome (1527).
Starting with Filippo Colonna (1578–1639) many changes have refurbished and create a unitary complex around a central garden. Architects including Girolamo Rainaldi and Paolo Marucelli labored on specific projects. Only in the 17th and 18th centuries were the main facades completed. Much of this design was completed by Antonio del Grande (including the grand gallery), and Girolamo Fontana (decoration of gallery). In the 18th century, the long low facade designed by Nicola Michetti with later additions by Paolo Posi with taller corner blocks (facing Piazza Apostoli) was constructed recalls earlier structures resembling a fortification.
The main gallery (completed 1703) and the masterful Colonna art collection was acquired after 1650 by both the cardinal Girolamo I Colonna and his nephew the Connestabile Lorenzo Onofrio Colonna and includes works by Lorenzo Monaco, Domenico Ghirlandaio, Palma the Elder, Salviati, Bronzino, Tintoretto, Pietro da Cortona, Annibale Carracci (painting of The Beaneater), Guercino, Francesco Albani, Muziano and Guido Reni. Ceiling frescoes by Filippo Gherardi, Giovanni Coli, Sebastiano Ricci, and Giuseppe Bartolomeo Chiari celebrate the role of Marcantonio II Colonna in the battle of Lepanto (1571). The gallery is open to the public on Saturday mornings.
The older wing of the complex known as the Princess Isabelle"s apartments, but once housing Martin V"s library and palace, contains frescoes by Pinturicchio, Antonio Tempesta, Crescenzio Onofri, Giacinto Gimignani, and Carlo Cesi. It contains a collection of landscapes and genre scenes by painters like Gaspard Dughet, Caspar Van Wittel (Vanvitelli), and Jan Brueghel the Elder.
Along with the possessions of the Doria-Pamphilij and Pallavacini-Rospigliosi families, this is one of the largest private art collections in Rome.